Quotes About Audience

People send me fanmail in the post, and I keep every letter, and I always say I will read every single one. It might take me years and years, but I'll do it. Your audience are what makes you, so you have give as much back as you can.

When you lived it for years and years and years and seen different characters just get pummeled and squashed because 'I said so,' it gets mighty damn disturbing and it's such a downer when you're trying to get a guy to perform at the top level for the audience that he's capable of.

In Japan, the way they act at shows is very different from home because they don't yell, they clap for about 10 seconds after the song and then it's completely silent.

I just get such a connection from an audience. You play with them. I get mad at them. I yell at them. They yell at me. It's just fun.

When I teach writing, I always tell my students you should assume that the audience you're writing for is smarter than you. You can't write if you don't think they're on your side, because then you start to yell at them or preach down to them.

People don't yell nasty things at actors - they let them continue.

I always give the encore over to chaos, so people can yell out requests and I can hack my way through a song that I don't really know anymore.

Once you become a comedian, you accept that people are just going to yell stuff at you.

There's nothing like the buzz of live theater. You put it out there and receive an instant reaction: laughing, crying, yelling, applauding.

When I did 'Rocky Horror,' I didn't want to meet the audience afterward, because they'd been having a good time yelling names at me all night, and I didn't really want to tell them that I didn't have such a good time being yelled at all night.

I do go through a mini depression because one minute there are people yelling and screaming for me on stage and the next I'm at home and it's dead quiet. So it takes a while to come down.

It was a show that you played at home and you're saying to the contestant do this and do that. When you at home are involved in yelling at the screen, then you know you've got an audience.

In the late '70s I was asked to sing for the first time in Germany. I'll never forget it. It was at a festival in Bremen. The German audience went berserk and the reviews were a phenomenon. For some reason the German audience understood how technically challenging this music was; it wasn't just someone yelling their head off.

From the moment I saw 'Camelot' as a kid, the organic inclination of performing before a live audience is raw and visceral. Once you're out there, there's no yelling 'Cut!' or any such thing as a do-over because that moment has passed, and you're in it as it's happened and gone, sharing it with everyone.

Few comedians can go to their shows and have people yell out bits that they want to hear. It's like going to see your favorite band and yelling out your favorite songs and to say the words along with them.

I've performed in basements and at supermarkets. The crowd would be yelling and throwing things at you.

I think that one of the nice things about the Yellow Submarine movie is that it seems to be perennial. People enjoy watching from each generation. And it was like the Beatles themselves. You know the Beatles seem to find new audience each time another generation comes along.

I never identified with anybody. I have always been very sensitive about my color, because everybody called me 'yellow gal.' I was caught in between both sides - nobody wanted me. I love that my audience is there, but I always feel as though I have to fend for myself.

Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

I don't want to be typecast as a heroine who does a certain kind of cinema, which is why I experiment with the types of films that I do. But yes, I won't deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching.

When you're out there in the octagon and you've got thousands of people, millions across the world, either cheering for you to win or cheering for you to get knocked out, the adrenaline is going, so it doesn't hurt while you're out there. Now fast forward to about an hour and a half to two hours after the fight? Oh yes. It's pretty painful.

I had my doubts about 'Yes, Prime Minister' being successful in the U.S. because your system of government is so different than ours. But the show does seems to have a very good audience in the states.

Being a doctor has taught me a lot about directing. You're doing the same thing: You're reconstructing the manifold of behavior to the point where an audience says, yes, that's exactly like people I know.

Free speech is not to be regulated like diseased cattle and impure butter. The audience that hissed yesterday may applaud today, even for the same performance.